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The Only Way Is Up” has long been regarded as a dance floor anthem and with its uplifiting lyric couldn’t be more appropriate as the soundtrack to current times as we slowly return to a more normal way of life. It has taken 40 years for this magnificent, original version of the song to finally see a reissue and our thanks go to Otis Clay’s daughter, Ronda, for helping to make this possible.
The song was written by George Jackson and Johnny Henderson and originally recorded by Otis Clay in 1980 on his own ‘Echo’ imprint. Incredibly it was a non-hit at the time and came towards the end of a long and prolific career for the Chicago R&B singer. Clay had previously recorded for the Leaner brothers at ‘One-derful!’ before moving on to ‘Cotillion’, ‘Atlantic’ and ‘Hi’ (amongst others). George Jackson also worked as a staff writer for ‘Hi’, after a successful run at Goldwax, but it was while he was with the Muscle Shoals Sound Studio that he wrote “The Only Way Is Up” for Clay.
In 1988 Jackson hit paydirt when his song was reinveted by the dance duo Coldcut for Yazz and the Plastic Machine. It was an immediate hit and spent five weeks at the top of the U.K. pop charts. It also became a No.1 hit across Europe although barely scraped into the Hot 100 in the U.S.A. In recent times it has been used as the theme to the popular TV show The Only Way Is Essex.
But, of course, it is Otis’ ‘soulful’ original that we all want to hear and it is still packing the dancefloors across the country as witnessed at last years fabulous ‘International Soul Festival’ at the Blackpool Winter Gardens! With prices in 3-figures and rising its time to grab a bargain… “the only way is up”!

Back in 2015, when we started Hip Dozer we were overwhelmed by the amount of talents that were still defending that old school way of doing beats and the amazing creativity that was circulating in the scene.

In a period of time where hip hop was evolving so much and getting always further (sometimes for the best but also for the worst), it appeared evident to us that we had to defend this rising scene of young beatmakers that were so tied up to the roots of the 'old-school' beatmaking but still bringing it to another level.

It has been 5 years since we have created Hip Dozer Records with our 1st Anniversary compilation and this is what makes this compilation such a special project every time. Its goal remains the same and will always be, championing the art of beatmaking that we love and help to showcase new artists from the scene.

This year we have the chance to have onboard some of our favorite new talent from the scene with the like of Burrito Brown, Loland, Imagiro, we also have the chance to have standard bearers like Jinsang, Saib, Flofilz, Melodisinfonie, Kazam, Shuko and, cherry on the cake, the french hip hop legend DJ Cam on top of that.

We want to thank so much all the artists who took part in this project and that were as enthusiastic as we are in its realization. It’s been such a thrill since this venture started and this is just the beginning. Much love to all of you guys listening and supporting wherever you are.

PEACE. Hip Dozer Fam.

Brownswood are delighted to share this hotly anticipated “unofficial” follow up to We Out Here and Sunny Side Up which respectively showcased music from London and Melbourne. This time we turn our attention to the vital scene in South Africa, one of many effervescent movements erupting around the world . Specially created recordings featuring some of most exciting post rock, avant garde and improvised music emerging from Johannesburg’s scene - the album was curated and produced by Thandi Ntuli and The Brother Moves On band leader Siyabonga Mthembu, and includes turns from such luminaries as Bokani Dyer and Sibusile Xaba. It's an album as sonically diverse as the South African nation itself.

Recorded over a week in June 2020 with South Africa just emerging from Lockdown and in the shadow of the global BLM movement - questions about lineage, community and spirit thread through the tracks – not just communities of descent or language, but the communities being built now through collective creation. The persistent fractures in South African society that were deliberately engineered by apartheid, results of an attempt to impose unitary, racially-constructed identities on all. All the tracks in this collection challenge that: they demonstrate the unifying power of collective music work.

The act of gathering to record in a time of isolation becomes one of anchoring and care, creating an energy field and capturing a living culture of making music. It is one in which bands exist to birth musical concepts as opposed to being static monoliths. Indaba Is propels a collective of musicians to the precipice of a new frontier. South Africa’s incredible jazz heritage becomes the departure point, as opposed to a tether.

LTD. CLEAR BLUE VINYL

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

One of the most highly regarded modern Brazilian jazz trios, Caixa Cubo announce ‘Angela’, their latest album and first to be licensed for European release by Heavenly Recordings.

 ‘Angela’, their Seventh since forming in 2007, was named as one of 6 Music’s Recommends Albums Of 2020 (Presenter Picks), chosen by DJ Huey Morgan. The single ‘Palavras’ is currently on the 6 Music playlist. Heavenly Recordings picked up on the record when DJ Giles Peterson played ‘Palavras’ on his show.

 Recorded in December 2018, the album features the singer Zé Leônidas on ‘Palavras’ and includes arrangements of songs like ‘Baião Malandro’ by Egberto Gismonti and ‘Dark Prince’ by Geri Allen, in addition to the group’s original compositions.

 Made up of Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass), the trio have split their time between Brazil and Europe in recent years, having been awarded scholarships to study at the Royal Conservatory of The Hague, Netherlands.

 They have performed at many respected European venues and festivals including Jazz à Vienne Festival (France), Anton Philip Hall (The Hague), A-Trane (Berlin), Riverboat Festival (Denmark) and others in Paris, Brussels, London, Birmingham, Lisbon and Rotterdam. They also performed in Maputo, Mozambique, as well as renowned venues in Brazil, mainly in Sao Paulo (Auditório Ibirapuera and SESC Consolação, Museu da Casa Brasileira).

Magnonic Signal head honcho Antonio Velazquez aka Spin Fidelity, known from his top notch releases on Subwax Excursions and Parang recordings, is present on the fourth outing on Brussels imprint Nightflight Records. This EP reflects the label’s spirit where there are no musical boundaries and hi-tech funk is the main ingredient of every track. On the A-side we have two techno soul stompers, “Photon Stream” and “Ancient love”, with rolling basslines, some acid and deep pads that will draw you straight to the dancefloor. On the flip we get two deep electro-funk tracks, “There must be a way” and “Magnonic transmission”, with a Detroit touch on a deep futuristic trip.

Lunar Tredd – Fimber Bravo’s first album on Moshi Moshi since the much acclaimed Con-Fusion – tells the tale. The highlife fusion of You Can’t Control Me resonates in the wake of the global Black Lives Matters protests. There is fire in these impactful clarion calls to resist oppression, recognise strength in resilience and fight against the corruption of power.

Bravo’s been a constant collaborative force - as his time as leader of 20th Century Steel Band, as musical director of Steel ‘n’ Skin, and appearances with everyone from Sun Ra Arkestra to Hot Chip, shows. Lunar Tredd reflects the influence of the music handed down to him by “ancestors” . Helped by an enviable cast of friends and collaborators, Fimber has shifted those touchstones to create something that sounds resolutely like the here and now.

Those friends that appear on Lunar Tredd, include Alexis Taylor of Hot Chip and The Horrors’ Tom Furse; The Invisible drummer Leo Taylor and Senegalese percussionist, Mamadou Sarr dropping in on rhythm duties, while there are also appearances from Susumu Mukai aka Zongamin, the brilliant Kora player Kadialy Kouyate, vocalist Cottie Williams, Vanishing Twin’s Catherine Lucas, and production from Lapo Frost and Ghostpoet producer Shuta Shinoda. Some, like Zongamin and Williams go way back with Fimber, other connections are newer, but all have quickly become part of the London-based musician’s musical family.

Indeed, Fimber never loses sight of where he’s come from on LUNAR TREDD - even as he looks to where he might go next. As a musician, he’s still finding new creative peaks nearly 50 years after he began.

The first two EPs of rising French-Algerian singer-producer-songwriter Sabrina Bellaouel on InFiné are now available on a single 12" vinyl edition for the first time. At the crossroads of modern electronic production, alternative RnB & North African beats, Sabrina Bellaouel offers her listeners an unprecedented mix of grand emotion of the Pop stage and the cutting-edge underground flair of buzzing nightclubs

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2020 saw Sabrina Bellaouel step out of her cocoon a fully formed artist. First, there was "We Don't Need To Be Enemies", a powerful and brave record - directing the limelight away from her talent as a singer and focusing on her honed, meticulous production skill and ingenuity in making demanding, forward thinking music. Bellaouel managed to tell stories of her identity and place in the world almost without a single vocal.

Then, there was "Libra" - fusing her own production with that gorgeous voice - showcasing a fully formed, trailblazing, independent artist. Sabrina jumps effortlessly between empowering trap on "Arab Liquor" to luscious RnB on "Float" and ends the record with "She Don't Care", a peak time house curveball that you can picture heating up the festival dance floors around Europe. The diverse and powerful EP united different sides of the press in its critical acclaim, receiving accolades from Resident Advisor, Mixmag, The Quietus, Metal Magazine and Pan African Music - just to name a few.

Both of these records then, represent a side of the coin - and are now available as a 12" Vinyl combining them to a singular listening experience. And when the clubs slowly open up again, you will surely see this secret weapon make it's way some well assorted DJ bags.

Devin Townsend brings to you the Devolution Series: a grouping of oddities and interesting material that he would like people to hear, but that aren’t necessarily a ‘major release’. The series will include all the quarantine songs and concerts, as well as various live shows from the past few years. The first release, “Devolution Series #1 - Acoustically Inclined, Live in Leeds”, is a remixed and remastered version of the ‘Live in Leeds’ show that was originally included on the Empath Ultimate Edition as video asset. A cool acoustic show that deserves to be heard, now availble as audio version.

Clear vinyl LP (VIRUS500LPX) is for Indies only and is very limited.

Political punk rock legend returns with a much needed current situation skewering. First release in six years! Features supergroup of members of UK Subs, The Mob, Victims Family, Triclops and more!

Hot on the heels of five viral video singles, Tea Party Revenge Porn, the first full album since 2014 by Jello Biafra And The Guantanamo School Of Medicine, is finally here! This is very strong stuff. Hear the inimitable Mr. B skewer the place the country has put itself in like no one else would or could as he and The Guantanamo School Of Medicine capture the full power of their live shows on disc as never
before.

Only so many artists have a track record of lyrics this good, and back it up with music as good or better. It’s usually one of the other, but rarely this fierce, thanks to the wall of sound production of the mysterious Marshall Lawless, with Kurt Schlegel at the board this time. Co-conspirators now feature both string-titans of longtime AT mainstay Victims Family: guitarist Ralph Spight (also Freak Accident) and wonder bassist Larry Boothroyd (also Triclops, Brubaker); plus drummer / metal percussionist Jason Willer (UK Subs, Nik Turner, Charger, The Mob).

So as germs and police riots rage, there’s no better primal scream therapy than a long-awaited new Jello Biafra album. From Dead Kennedys to Lard to the now-classic albums with the Melvins, DOA, NoMeansNo, Mojo Nixon; and of course, The Guantanamo School Of Medicine, Tea Party Revenge Porn is right up there with all of it.

Once upon a time, two operators stared at their screens. They sat silently for hours, their whole being dedicated to the task they had been assigned to. Days and nights passed in the same monotonous manner. Suddenly signals showed up on their monitors. Alarms started to ring. Both reacted at the same speed and did what they were supposed to do. Controls and commands were entered, as was protocol. After observing these waves for 61:01 minutes, everything became quiet again. What they had just witnessed made them wonder. For the first time they addressed each other. "The data is transferring through our system," announced the first. “Let us both check how this can be interpreted.” The second validated the response. Together, they looked at what had been recorded. Ideas raced through their complicated minds until they realized simultaneously: sounds! They listened. “Is this an unknown language?” one asked. “This is the first time this has been heard throughout our history,” the other answered. They listened again and again. “This electricity has been arranged to form a cohesive entity,” the first said. “Why would machines be used to create that?” the second mused. Something had awakened inside of them, an obsessive curiosity they had never experienced before. They did not understand and were blown away by the beauty of it. “Do you think it could have been left by humans before us?” one whispered. “If it was, these would be Major Signals,” the other concluded. As they processed these thoughts, the two artificial intelligences sat still.

Melbourne born-and-raised musician, Jordan Brando, lands on Shall Not Fade's Killer Cuts imprint for his debut on the label, seven tracks that show impressive variety in his
production and include two vocalist features. "Moment in Time" is a versatile release with fully-fledged radio playable songs and a host of dancefloor heaters.

After hitting big with "Rockin'" in 2019 and touring Australia supporting the likes of Fisher, Brando now demonstrates the depth and breadth of his musical style in this full-length EP, opening out with the title track - a unique song featuring fellow Melbourne local Vincent Sole. From the glitchy intro the song hits a house beat to get you tapping along but then contrasts this with Sole's silky smooth vocals and disco guitar trills. Following on from this are two more classic dance tracks - "Elsewhere" chops up rnb vocals across a swirling bassline - day party gear - while "Broken Dub" shows Brando's abilities to draw from a range of genres, a pacey breaksy number that tempts a reload.

The record's B-side also contrasts club tracks with vocal features; "Conflict" is the most headsy track on the record, a harder beat and snarling bass for sweaty clubs. Brando returns to his house roots with "Let Me Be The Reason", centering on an earworm diva vocal sample. Sandwiching the record with two vocal features, "You Might Be Surprised" ft. China takes her enticing wordless vocalisations and lays them over a driving electro bassline, an adventurous pairing that fits perfectly. Digital bonus track "Breaking You" is a pure adrenaline floorfiller of deep techy inflections.

“I made this record for young women to feel invincible.” - Izzy B. Phillips, Black Honey Having last week been pre-empted by the landing of their colossal new single ‘Run For Cover’, today Black Honey have announced their brand-new album – ‘Written & Directed’. ‘Written & Directed’ will be released on the 29 th of January 2021 on Foxfive Records. ‘Written & Directed’ is Black Honey’s second album. It follows their outstanding self-titled debut released back in 2018 when the world that surrounded the Brighton four piece looked and felt like a very different place. Black Honey however are still the bad-ass, truly original band they have always been, they’ve just graduated from the intriguingly anomalous newcomers to becoming one of UK indie’s most singular outfits. They've travelled the world and released a Top 40 album; graced the cover of the NME and become the faces and soundtrack of Roberto Cavalli's Milan Fashion Week show; smashed Glastonbury and supported Queens of the Stone Age, all without compromising a shred of the wild, wicked vision they first set out with. It's now time for the next instalment of their story – ‘Written & Directed” – which see’s Black Honey deliver one, very singular, message – a 10 track mission statement that aims to unashamedly plant a flag in the ground for strong, world-conquering women. For fierce frontwoman and album protagonist Izzy B. Phillips – it’s the most important message she could send to inspire her cult-like fanbase and fill the female-shaped gap that she felt so acutely when she was growing up and discovering rock music for the first time. Written throughout 2019 and recorded in fits and spurts between touring, ‘Written & Directed’ is drenched with a hedonistic, anything-goes attitude. It’s also the most full-throttle collection of music that Black Honey have ever-written – egged-on by their run of shows supporting long-term friends and collaborators Royal Blood. Exploring everything from womanhood, to identity and power, it’s an album that revels in the rich history of pop culture, throws a wink to its rock- and-roll heroes, but ultimately (and in true Black Honey fashion) it stands on its own two feet. With a typically hyper-visual world referencing grindhouse cinema, kitschy pulp films and a flip-reverse of female cinematic representation all primed to unfurl and explode around them, 'Written & Directed' is the sound of Black Honey strapping in and saddling up, of harnessing their quirks, and, as the Phillips has always hoped, riding them joyously into the sunset.

New Pagans create music that's not only vivid and engaging but also home to massive riffs and rare dynamics. The bands audible influences range from PJ Harvey to Sonic Youth while lyrically the band deliver protest songs, songs about women, songs about mothers and songs about conversations overheard on Belfast's public transport systems. Their live shows are also something to behold and have just been the recipients of the best live act at The Northern Island Music Prize 2020. Music is the focus and an important vehicle for the healthy message the band promotes. New Pagans is a proud advocate for women’s rights, visibility and inclusion in the global music industry – an industry dogged with a history of stark gender inequality. The arts community and media have responded to the bands refreshing social and historical lyrical stance which includes protest songs, songs of suffrage and an ode to Lily Yeats, the often overlooked sister of Jack and William B and a key mover in the world of Irish arts and crafts back in the day along with her younger sister, Elizabeth. New Pagans have headlined events as part of Women’s Work and Lyndsey McDougall has proudly embraced the demands of live performance and recording whilst pregnant twice!. The band are committed to promoting honest inclusion, demonstrating the female force and showing that you can be born as or identify as female, raise a family and have your place as a career musician. Young women, young mothers see Lyndsey as a symbol of strength and hope in her fearless and forthright attitude to motherhood whilst fronting a band. A lot of young mothers feel the need to hide that aspect of their personal life for fear of how people may perceive it as a limit in achieving creative breakthroughs. New Pagans are that breakthrough, a visible work in motion

Fast, brutal, slamming and with a distinct message in their music: Necrotted from southern Germany are a bearer of hope for modern death metal! Founded back in 2008, the band from Abtsgmünd (Baden-Wuerttemberg) still invigorates the scene and continuously convinces its growing fan base as well as the music press. Not only the three full-length albums ‘Anchors Apart’ (2012), ‘Utopia 2.0’ (2014) and ‘Worldwide Warfare’ (2017) and the two EPs ‘Kingdom Of Hades’ (2010) and ‘Die For Something Worthwhile’ (2019) are registered in the band’s history, but also hundreds of live concerts in different countries in which Necrotted already unleashed their pure energy on various stages. Sweeping and melodic guitar riffs combined with blaring blast beats and rough, stomping slam parts form the brutal mixture of the quintet. The musical sound is rounded off by deep and high-pitched guttural vocals, emphasizing the catchy refrains and lyrical highlights of the songs. The new album ‘Operation: Mental Castration’ follows this trend and consistently enhances the soundscape of the band. Also, the album once again comes up with a sophisticated lyrical concept, characteristic for Necrotted. Written and recorded in 2020, ‘Operation: Mental Castration’ will be released through the aspiring label Reaper Entertainment Europe in early 2021 and will set a new benchmark for modern, diversified death metal. Social Media Whore (feat. Julien of Benighted): The southern German death metal brigade Necrotted revealed the first single ‘Asocial Media Whore’ of the upcoming album ‘Operation: Mental Castration’. For this groovy slasher of a song the quintet teamed up with Julien Truchan of French brutal death metal band Benighted. My Mental Castration: With ‘My Mental Castration’ Necrotted unleash the title track of their upcoming album ‘Operation: Mental Castration’. The song showcases the characteristic style and the spirit of the new full-length, which will set a new benchmark for modern, diversified death metal. Compulsory Consumption: Sluggish and melodic ‘Compulsory Consumption’ is the third single off of Necrotted’s upcoming album ‘Operation: Mental Castration’. The rough song underlines the band’s status as a bearer of hope for modern death metal.

Gentleman’s Dub Club continues to be one of the most exciting acts in the
UK, selling out shows (when they can play live), headlining festival stages,
racking up streams, and often playing to crowds of 10K or more.
The band returns for their newest full-length, following the February 2019
release of ‘Lost In Space’.
’Down To Earth’ brings the band thematically back to basics, with a set of songs
built around the band woodshedding and writing together in the studio, and
working to capture more of the overall, razor tight sound of their live sets.
Much of the record was recorded in London, with the band meeting up whenever the lockdown permitted, managing to write together, record, and mix at Crosstown Studios, which is owned by bassist/producer Toby Davies and drummer Ben McKone (of General Roots, Hollie Cook’s band).
Guest spots by Hollie Cook and Gardna (who also appeared extensively on the very successful ‘Pound For Pound’ album that paired Gentlemans Dub Club with the Nextmen in 2018) add to the magic.

Hedvig Mollestad Thomassen - guitar/Ellen Brekken - bass/Ivar Loe Bjornstad - drums. Only nine months after her momentous debut solo album Ekhidna, the guitarist is back fronting her trio. With their previous album, Smells Funny, this explosive and expansive trio experienced a breakthrough of sorts, having gone from strength to strength through five albums since their 2011 debut Shoot!, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable on jazz and rock stages. Hedvig enforced this breakthrough with Ekhidna, appearing on both jazz and rock best of 2020 lists, like coming in third in Prog's "Album of the Year" poll. She was included in Downbeat's "25 for the future" and received heaps of international attention and great reviews.With the hypnotic title track, the spacious ballad Four Candles and generally a more varied mood, Ding Dong. You're Dead. is the trio's most dynamic album to date. That said there's still enough solid and creative riffing here to satisfy the headbangers, as well as the jazzheads, as they further explore the free and open landscapes most notably started with their Black Stabat Mater album and continued with Smells Funny. As Nate Chinen wrote about "Black Stabat Mater" in JazzTimes: Her trio, which has Ellen Brekken on bass and Ivar Loe Bjornstad on drums, caught my ear then with its audacious style references: the loose swagger of early Black Sabbath; the density and prowl of peak Led Zeppelin; the expeditionary urge of Jimi Hendrix; the incantatory fervor of John McLaughlin. As recent performances have shown, online and in the flesh, this trio radiates confidence and have become a surefire hit on the Norwegian live scene. Hedvig first picked up her mother's acoustic guitar at ten, before discovering a whole new world through her father's jazz and rock record collection as a teenager. She was given her first electric guitar and amplifier as a confirmation present. Hedvig met Ellen and Ivar at the Music Academy in Oslo and asked them to join her after she received the Young Jazz Talent of the Year award at Molde International Jazzfestival in 2009. They have stayed together since, and all previous albums have been released on Rune Grammofon to wide international acclaim.

Hedvig Mollestad Thomassen - guitar/Ellen Brekken - bass/Ivar Loe Bjornstad - drums. Only nine months after her momentous debut solo album Ekhidna, the guitarist is back fronting her trio. With their previous album, Smells Funny, this explosive and expansive trio experienced a breakthrough of sorts, having gone from strength to strength through five albums since their 2011 debut Shoot!, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable on jazz and rock stages. Hedvig enforced this breakthrough with Ekhidna, appearing on both jazz and rock best of 2020 lists, like coming in third in Prog's "Album of the Year" poll. She was included in Downbeat's "25 for the future" and received heaps of international attention and great reviews.With the hypnotic title track, the spacious ballad Four Candles and generally a more varied mood, Ding Dong. You're Dead. is the trio's most dynamic album to date. That said there's still enough solid and creative riffing here to satisfy the headbangers, as well as the jazzheads, as they further explore the free and open landscapes most notably started with their Black Stabat Mater album and continued with Smells Funny. As Nate Chinen wrote about "Black Stabat Mater" in JazzTimes: Her trio, which has Ellen Brekken on bass and Ivar Loe Bjornstad on drums, caught my ear then with its audacious style references: the loose swagger of early Black Sabbath; the density and prowl of peak Led Zeppelin; the expeditionary urge of Jimi Hendrix; the incantatory fervor of John McLaughlin. As recent performances have shown, online and in the flesh, this trio radiates confidence and have become a surefire hit on the Norwegian live scene. Hedvig first picked up her mother's acoustic guitar at ten, before discovering a whole new world through her father's jazz and rock record collection as a teenager. She was given her first electric guitar and amplifier as a confirmation present. Hedvig met Ellen and Ivar at the Music Academy in Oslo and asked them to join her after she received the Young Jazz Talent of the Year award at Molde International Jazzfestival in 2009. They have stayed together since, and all previous albums have been released on Rune Grammofon to wide international acclaim.

Still only 29 years old when composing and recording this album, Kjetil Mulelid is one of the brightest talents in Norwegian jazz, and these days that really says something. In Kjetil's childhood home they had a subscription for a "Classical Masterpieces" CD collection. One that especially caught his attention, and would be played repeatedly, included the most melodic piano music of Beethoven, Chopin and Debussy. At the same time his elder brother introduced him to "old" rock like Led Zeppelin and Queen, winning him over and getting him interested in the guitar rather than the piano. When he later applied to music education in high school with electric guitar as his main instrument, the teachers asked if he played other instruments. He duly played a song on the piano, and heard nothing more of it. Months later, thinking he was enrolled as a guitarist, he was (to his horror) introduced to the class as a pianist. While he loved listening to classical piano music, playing it he felt tied up in the "rules" and the sheet music. It was simply more fun to play rock music on electric guitar_ surely a familiar story! Later a classically trained piano teacher played him some gospel and boogie woogie and introduced him to some simple pentatonic hooks on a C major blues. He hadn't really touched the piano in a very long time, but the same night he started experimenting and improvising around what she had shown him, and from that moment he was all into the piano and would dig further into improvisation and jazz. And the rest is history, as they say. Kjetil was sceptical when we first suggested a solo piano record back in early 2018, but the idéa slowly grew on him and when the pandemic exploded and other plans had to be scrapped, he suddenly had the time as well as the means to do it. So the bulk of the album was written in a hectic lockdown period and recorded on a steaming hot June day in the legendary Athletic Sound studio on their unique and characteristic Bösendorfer grand piano from 1919. Of the piano Kjetil says the sound is one of a kind, very clear and not typically "perfect" like most new ones. We can only wholeheartedly agree, it sounds great and is also very well recorded and mixed, giving the impression that you sit next to him, and not in a concert hall. In turn joyful, playful and elegant, the album fully shows Kjetil's harmonic and melodic mastery and the influence from those early introductions to the classical masters. Whether staying with the tune or taking off on improvised flights, there is an ease and assurance in his playing that betrays his young age.Kjetil has a bachelor degree in jazz performance from NTNU in Trondheim, has played in most European countries, Japan and USA, released two acclaimed albums with his trio on Rune Grammofon, and is also a member of Wako.

Back in 2019, Ravioli Me Away debuted their hyper-surreal operatic work 'The View From Behind The Futuristic Rose Tellis' across the UK, including two sold-out shows in London. Difficult to contain, and wound-up with a truant's sense of narrative, it presented a wondrous cacophony of erupting media and performances patched together with wit and existential alarm. A suite of songs circling themes of aspiration and the everyday run through the opera, and these were released in parallel by Wysing Polyphonic, one of the commissioning institutions. A selection of these songs were then reinterpreted and reshaped into forms that befit a club setting, debuting at Supernormal festival in the same year. Entitled 'Naughty Cool,' Alter now presents these collective club reworkings by HMS RMA for the first time on vinyl and digital formats. Uplifting and delightfully crooked throughout, the tracks are shuffled together and stitched as a 'DJ mix.' In six segments of vocal-led missives and soft drops, the sunniest hooks of early Chicago house are recalled, all cross-pollinated with the collective rhythms and tones of the UK's rave subconscious. A freeform, DIY rowdiness lurks around every corner, equally evoking punk's flings with disco. The familiar sound and presence of Ravioli Me Away's Alice Theobald, Rosie Ridgway, and Sian Dorrer aren't lost in the edits and adaptations, and they come backed-up with Tom Hirst (Design A Wave), opera singer and artist Siobhan Mooney, and Dean Rodney Jnr (The Fish Police), all of whom took part in the original opera itself. "Naughty Cool" was engineered by John Hannon at No Recording Studios and mixed and mastered by Amir Shoat in London. This record is dedicated to the memory of Donna Lynas.

British Heavy Metal legends Saxon will deliver a full-roar-fun-down set of covers on March 19th 2021 (Silver Lining Music), with their latest album Inspirations, which drops a brand new 11 track release featuring some of the superb classic rock songs that influenced Biff Byford & the band.

From the crunching take on The Rolling Stones’ ‘Paint It Black’ and the super-charged melodic romp of The Beatles’ ‘Paperback Writer’ to their freeway mad take on Jimi Hendrix’s ‘Stone Free’, Saxon show their love and appreciation with a series of faithful, raw and ready tributes. Recorded at Brockfield Hall near York, UK, with a firm eye on the old school way using Marshall cabs, Marshall amps and real drums, Saxon approach the likes of Motörhead’s ‘Bomber’ (with added whistle!), AC/DC’s ‘Problem Child’, Black Sabbath’s ‘Evil Woman’ and a raucous Deep Purple’s ‘Speed King’ with refreshingly warm, unfiltered, “vintage” sounding renditions.

Byford takes on some new vocal challenges, which he duly smashes on the likes of Thin Lizzy’s ‘The Rocker’. Saxon do a supreme job of entertaining both themselves and their audience throughout Inspirations. For even more proof of the validity behind that statement, wrap your ears around their sparkling take on Toto’s ‘Hold The Line’ and consider Saxon’s Inspirations a mission accomplished.

Classic black vinyl, including DLC with estra track. "Here lies our ancient future, Deep England: our hope and compassion in the chokehold of power and glory.Hand in hand, here we cry our rage: summoning a lament into the ether, a divine androgynous force, a transcendental purge of the dizzying chaos of post-truth Britain." - Gazelle Twin & NYX. Gazelle Twin & NYX: electronic drone choir have announced details of their debut release, Deep England, an 8-track album out on vinyl, CD and digitally on 19 March 2021 via NYX Collective Records.Rooted in English pagan and sacred music, Deep England is an electronic-choral expansion of Gazelle Twin's 2018 album Pastoral (Anti-Ghost Moon Ray). Here, tracks from Pastoral, an album whose political themes have only intensified since its original release, are radically reworked and presented alongside original compositions by NYX, Paul Giovanni and William Blake.Gazelle Twin (aka Elizabeth Bernholz) and NYX, the electronic drone choir reshaping the role of the traditional female choir, originally created Deep England for live performance with Movement Director Imogen Knight, Sound Associate Peter Rice and Designer Chloe Lamford. The performance, described by The Times in their 4* review as a "spellbinding febrile techno-pagan pageant", premiered at the Queen Elizabeth Hall in November 2019. Deep England was transferred to the studio soon after, and the resulting album shows a powerful and often dreamlike Jarman-esque depiction of a country divided by its many selves. The performers are Adélaïde Pratoussy, Cecilia Forssberg, Elizabeth Bernholz, Natalie Sharp, Ruth Corey, Shireen Qureshi and Sian O'Gorman. The album was co-produced by Marta Salogni, Sian O'Gorman (NYX) and Elizabeth Bernholz (Gazelle Twin) with mix and additional programming by Marta Salogni, and mastering by Heba Kadry.

- The definitive overview of one of Canada's unsung musical heroes - Rare/previously unreleased recordings, photos, and interviews - Lyrics, discography, and filmography - Audio re-mastered by John Baldwin Mastering - Artwork by Christi Belcourt and Alanna Edwards - Liner notes by Kevin Howes (Voluntary In Nature) - Contributions from the Dunn family, Bob Robb, and Alanis Obomsawin (OC) // How did you first experience the poetry, music, and film of Willie Dunn? In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent's record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in '73? On a good friend's stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie's celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA's Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands? There should be no judgment for coming to things when you do. All that's important is remaining open to life-changing messages such as these_ Willie Dunn shared truth through song and celluloid. His original composition, "I Pity the Country," is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. "It's like the reason you're supposed to make music," said Kurt Vile about the song to MOJO Magazine in 2015. With "Charlie," Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn's film technique, featured in 1968's The Ballad of Crowfoot (NFB), predates the "Ken Burns effect" to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players. "He was our Leonard Cohen," said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten_ PEACE

A brand new 20 track album released via Sony Music Masterworks. A unique celebration of immigrants around the world, showcasing works inspired and contributed to by artists who either identify themselves as immigrants, are from immigrant heritage or wish to express support for those international immigrants who have found themselves judged or disadvantaged by pure accident of birth - Nitin's sequel to his 1999 seminal album 'Beyond Skin'. Jools Holland TV performance plus other promo/marketing activity.

Like so many other disenfranchised kids in the heady days of mid-eighties United
Kingdom, Magic Roundabout came armed with leather jackets, charity shop instruments, singles
by The Fall and Buzzcocks, good haircuts, a healthy VU obsession and a little psychedelic
inspiration. Influenced into existence at early gigs by The Jesus and Mary Chain and Shop
Assistants, The Roundies wanted to change the world or at the very least make some noise,
shake things up and be a part of the happening.
The gang established a clubhouse in early 1986 and began rehearsing, recording and
gigging. Playing a ton of legendary shows with the likes of The Pastels, The Blue Aeroplanes,
Spacemen 3, Loop , My Bloody Valentine, Inspiral Carpets and picking up a bunch of fans along
the way. Rumor has it that Noel Gallagher roadied their final show.
There was one song released - She’s a Waterfall Parts 1 and 2 on Mark Webber’s
(Pulp) Oozing Through The Ozone Layer cassette compilation - and that’s it. There were also
talks of a flexi-disc that, for whatever reason, never saw the light of day. But by the end of the
80s, the gang had all gone their separate ways and the recordings along with so many other
things were thought to be lost forever…
Now, these 1987 recordings recently unearthed by Ian Masters (Pale Saints) and Third
Man Records and given the “treatment” by Warren Defever are presented to you lucky ones as
the debut single by Magic Roundabout. 34 years too late or perfectly steeped and presented at
just the right moment in history? Tune in, turn on and make up your own mind. Enjoy the trip.

Two of our favorite records that we here at Real Gone Music have reissued in the last few years were the debut pair of records (both originally released in the early ‘70s) by legendary Brazilian percussionist Airto; each album serves up a savory, bubbling stew of Brazilian folk, fusion jazz and bossa nova spiced with a hint of tropicalia. While Airto’s contributions on each record were, of course, front and center, there was another player on those records that almost stole the show: one Severino Dias de Oliveira a.k.a. Sivuca, a small, wizened man (often somewhat uncharitably described as “gnomish”) whose dazzling virtuosity on accordion, guitar, and keyboards—coupled with a powerful singing voice that belied his small stature—made one instantly sit up and take notice. Further investigation revealed that stealing the show was nothing new to Sivuca; championed by Oscar Brown, Jr., he was the instant star of tours by both Harry Belafonte and Miriam Makeba among others. Sivuca started making records back in the mid ‘50s, and recorded for a number of labels in the States, including Reprise and RCA, but it is this record, made in 1973 for the Vanguard label, that is the one that collectors worldwide have zeroed in upon. And with good reason; it offers the same beautiful blend of styles found on those Airto records, but with an emotional shading all its own, a joyfulness paradoxically infused with melancholy, best expressed on Sivuca’s mesmerizing take on Bill Withers’ oft-covered “Ain’t No Sunshine,” which is likely to become your favorite version.

The iconic album series Back to Mine returns once again in 2019 with the first DJ imx compilation from world dominating indie-dance band Jungle, showcasing their personal tastes for the after-hours. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

Building on Back to Mine’s heritage for quality this edition comes with limited edition heavyweight vinyl and extra thick cardboard sleeves with full coloured bespoke artwork, commissioned from illustrator Rich Fairhead, depicting the artist’s influences alongside personal sleeve notes from Jungle.

The collection includes an exclusive track from Jungle themselves and takes the listener on an eclectic musical journey. From 90s disco by Merle to more recent house tracks by Manuel Darquart and Drumtalk. Bristol DJ Admin provides the percussion heavy ‘Space Cadet’ and the irrepressible Mocky supplies good vibes on ‘How It Goes’. There’s sophisticated pop from The Marias and Sam Evian and there’s some spotlight for modern jazz with tracks by Kamaal Williams, Mansur Brown and BadBadNotGood featuring Kaytranada. There’s also room for some gospel influenced soul by The Flying Stars of Brooklyn NY, lo-fi dream pop from Paul Cherry before ending with the always impressive HNNY.

To coincide with the series release, Jungle will embark on an extensive Back to Mine global DJ tour.

Little do we know about Moondance, in fact when these tracks just showed up in the inbox one day, we said "Moon who?".
All we got was a link to a dropbox folder with three tracks signed Moondance.
One thing is for sure though, the music peaks volumes and that is why we didn't hesitate to sign all three of them.

The title track, 'Never Found Love' comes in two different shapes. While the original is a colourful, rich, and jazzy piano driven house track with a vocal to tie it all together, the Amen Mix is an off-kilter dub inspired version, it sounds like something straight out of a Innerzone Orchestra jam session

Moondance's own theme, 'The Moon Dance (2020)' sounds like the perfect blend between house and techno, carefully dipped into a pot with equal parts of forward thinking Detroit style and organic house.

“Nothing ever really disappears,” Cassandra Jenkins says. “It just changes shape.” Over the past few years, she’s seen relationships altered, travelled three continents, wandered through museums and parks, and recorded free-associative guided tours of her New York haunts. Her observations capture the humanity and nature around her, as well as thought patterns, memories, and attempts to be present while dealing with pain and loss. With a singular voice, Jenkins siphons these ideas into the ambient folk of her new album.
An Overview on Phenomenal Nature honors flux, detail, and moments of intimacy. Jenkins arrived at engineer Josh Kaufman’s studio with ideas rather than full songs — nevertheless, they finished the album in a week. Jenkins’ voice floats amid sensuous chamber pop arrangements and raw-edged drums, ferrying us through impressionistic portraits of friends and strangers. Her lyrics unfold magical worlds, introducing you to a cast of characters like a local fisherman, a psychic at a birthday party, and driving instructor of a spiritual bent.

Jenkins’ last record, 2017’s Play Till You Win, confirmed the veteran artist’s talent. Evident of Jenkins’ experience growing up in a family band in New York City, the album showcased her meticulous songwriting and musicianship, earning her comparisons to George Harrison and Emmylou Harris. Jenkins has since played in the bands of Eleanor Friedberger, Craig Finn, and Lola Kirke, and rehearsed to tour with Purple Mountains last August before the tour’s cancellation. Her new record departs from her previous work in its openness and flexibility, following her peripatetic lifestyle. “The goal is to be more fluid, to be more like the clouds shifting constantly,” she says. The approach allowed Jenkins to express herself like she never has.

On album opener “Michaelangelo,” before the heavy drum beat and fuzz guitars enter, Jenkins sings quietly “I’m a three-legged dog, working with what I’ve got / and part of me will always be looking for what I lost // there’s a fly around my head, waiting for the day I drop dead.” Phenomenal Nature thrives in this dichotomy between ornate sonics and verbal frankness, a calming guided tour to the edge. Later, on “Crosshairs,” amid lush strings, she sings conversationally: “Empty space is my escape / it runs through me like a river / while time spits in my face.”

“Hard Drive,” the third track and album centerpiece, opens with a voice memo Jenkins recorded at The Met Breuer: a guard muses about Mrinalini Mukherjee’s hybrid textile and sculpture works, which were then on display in a retrospective titled Phenomenal Nature. “When we lose our connection to nature, we lose our spirit, our humanity,” she explains. Stuart Bogie's saxophone & Josh Kaufman's glittering guitar make way for Jenkins' spoken word which constellates scenes from her life, gradually building and blossoming as she recreates a meditation guided by a friend who incants, “One, two, three.”

Sounds of footsteps and bird calls run through the album’s glittering conclusion, “The Ramble.” Meditative and bright, it recalls how Jenkins felt while writing and recording her new material: “Everything else is falling apart, so let’s just enjoy this time,” she said. If Phenomenal Nature has a unifying theme, it’s the power of presence, the joy of walking in a world in constant flux and opening oneself to change.

Cromby debuts on Radio Slave’s Rekids with ‘Twisted Future’ EP, showcasing his talent for tweaked out techno.

Following standout appearances on Feel My Bicep, Unknown To The Unknown, and E-MISSIONS, Irish-born DJ/producer Cromby hits Rekids with a four-track EP of crisp techno cuts. Heavily utilising the sound of hardware across the release, ‘Twisted Future EP’ sees Cromby explore the depths of these classic sound palettes over robust techno frameworks.

‘IXP-42’ brings crunching drums and wiggling synths together for over two minutes, building tension before eventually, the much-awaited bassline comes in thick and fast. ‘Follow The Bass’ brings a dose of the unusual to proceedings, with snaking FM leads modulating throughout a maze of sizzling percussion.

On the flip, Bleep meets Baltimore on ‘Relief’, with meaty acid lines, vocals and clattering drums sparring with each other across the track, while ‘Vortex’ rounds off the release, with bright shimmering stabs peppering the stomping drums and distinct squelch of the 303.

One of the most enjoyable parts of Dirtybird is to watch a talented artist grow. Nala started out in Miami cutting her teeth on the local DJ circuit and then moved to LA where she eventually signed with VonStroke and Aundy's Motherbird Management.

Her weekly Dirtybird "TV Party" on Twitch is one of the most popular shows on the network. Each week she features her unmistakeable punk & new wave-influenced DJ style while also hosting a special underground guest, as well as her long time friend and local LA rave legend, Richie Panic.

Nala’s debut on Dirtybird, “Psychic Attack”, is a gritty A-side with her own vocals shouting about the nervous the angst of 2020. The B-side, “Sun Is Hot” showcases her gentler side with a deep groove, a smooth vocal tone, and melodic vintage synth riffs throughout.

The Kraut Jazz Futurism compilation shows what's cookin' in the new German Jazz scene. Young German bands and a few of the international musicians working in Berlin now. Fresh artists that combine Jazz, Krautrock, Afro, Hip Hop and Electronica in a new way. The first volume of the compilation came out last year and was described by The Wire as "... a re-drawn map of underground Berlin. Refreshingly new, eccentric, badassed and sometimes funny." This 2nd part goes further. Similar to Gilles Peterson's "We Out Here" compilation, where he shows mainly the new hip english Jazz artists, on Kraut Jazz Futurism, Kryptox records head honcho Mathias "Kapote" Modica puts together what's hot in the new club jazz scene in Germany. And there is a lot cookin' in Berlin right now. Kraut Jazz Futurism comes out on Kryptox. Sublabel of Gomma & Toy Tonics records.

They Say: “Exploring the wide range of moods and sounds produced by percussion”.

We say: MPCs at the ready because this does exactly what it says on the tin, to devastating effect. Oh, and the sleeve is stunning.

Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. Unsurprisingly it’s one of the most sought-after records from the Themes catalogue.

This library LP is a library in itself, with its mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Trust us when we say that this is a box full of percussion firework ready to be thrown onto the dancefloor at the just right moment. We don’t have anywhere near enough space to describe all 34 tracks (there isn’t even enough room on the labels to list them all!) so we’ll pick out some favourites.

Favourites like opener “Impulsion”, a percussive masterclass with drum upon drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja’s eternal The Now Generation LP. And the dramatic “Fast Action” is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. “The Chaser” is classic library cop-funk with dilapidated drum figures, and the outrageously funky “Heat On” is the perfect accompaniment to your wild action sequences.

A real highlight is “Runaway”, and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. “Percussion Power” is an extended, near-three minute suite of funky drum solo after funky drum solo that just aches to be looped: open drums to die for people! “Shivers” is a tense, apprehensive underscore with shock stabs that builds to a climax whilst “Drums On Parade” is a showcase of head-nod drums and cymbals in march time. Did someone say “funky”?

Side B starts with a stroll down “Samba Street”. With the noise of the crowd in the background, this is riotous, authentically drawn samba that sounds like it’s been beamed straight in from Rio in full flow. Drop this at midnight and watch the cobwebs fly off any dancefloor. Prefer it without the fake crowd? “Samba Street (b)” has you covered.

The simple, innocent “Child’s Themes” (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of “Tropical Peace” only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells.

Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. The Themes series is known for each record having its own particularly striking sleeve, which was unusual for library records at the time, and Percussion Spectrums’s multi-coloured drumsticks make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Percussion Spectrum comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. As usual Richard Robinson has taken the same care with restoring the original sleeve from archive scans. This is another one ticked off the list of library records that should be out there for anyone who wants a copy.

Mwandishi: one of the most influential combos in the history of electric Jazz. This is Herbie Hancock's creature caught live at the Juan-les-Pins Jazz Festival in France on July 21st, 1971. H. Hancock - piano and Fender Rhodes, Bennie Maupin - saxes, bass cl. and flute, Eddie Henderson - trumpet, Julian Priester - trombone, Buster Williams - bass and Billy Hart - drums. A highly progressive form of modern Jazz based on the mix of different elements. Some sort of Afro-Electric-Funk sound journey where waves of multiple pulsating sounds develop in a continuous alternation between tension and release. A marvelous band for which live performances often show more than studio recordings.

Legendary Chicagoan General Juke aka Gant-Man returns with Distorted Sensory, his brand new acid house adventure. A longtime veteran who's been behind the decks since before he was even a teen, he's been an essential part of Chicago dance music history since the Dance Mania days in the mid 90s, and a major pioneer in jumpstarting the juke movement that followed. This new single, and his debut solo releaseon the Teklife imprint explores the time honored tradition of jacking, channeling the very essence of house music though a modern lens. Employing an enigmatic 303 bassline that mutates and breathes as if it were alive, Gant plays malicious melodies that run up and down octaves in a freaky, hallucinatory manner. Squelchy synth movements are met by eerie FM tones, reminiscent of Cajmere's classic Chicago staple the Percolator. A rugged 909 drum kit bangs the track along in true jacking fashion, making it the perfect tool for shaking the floors of dark, sweaty warehouses. In addition to the original, two of the UK's finest contribute remixes as well. Hyperdub boss Kode9 puts things into overdrive with his 160 BPM warped vision of Gant's acid, sliced up to appeal more to the footworkers and fans of psycho tempos. Dubstep pioneer Loefah strips back the original percussion and lets the 303s float over a cloud of deep sub bass, adorned with lovely splashes of rolling snares and micro percussion. With an array of stone cold classics under his belt, from ghetto house anthem Juke Dat Girl to his brilliant collabs with the late DJ Rashad Heaven Sent and Juke Dat Juke Dat, Gant-Man is a true renaissance man. For over 20 years, he's consistently shown the world the complexity that makes up his city's dance culture, never sticking to one area or tempo. Distorted Sensory is a beautiful celebration of Chicago house music, a return to its true raw design, and a reminder of just how timeless an art form it really is.

Jossy Mitsu (Rinse FM / 6 Figure Gang) makes her production debut on Astral Black. A resident DJ for the labels monthly club residency and host for their monthly radio shows, the club night-cum-label is the perfect home for Jossy's debut solo release. The Birmingham-raised, London based DJ has become known for her ability to shell down any club, whether that’s rinsing out a twisted concoction of sweaty House, Techno and left field club heaters, firing heavy-weight Rave and Jungle sets, or serenading you with her 2-step vinyl collection. Now holding down a Rinse FM residency and part of the much loved ‘6 Figure Gang’, the past 18 months has seen Jossy DJ across Europe and the UK, alongside artists such as Joy Orbison, Dance System, Maya Jane Coles & Dusky and perform at events such as The Warehouse Project, Glastonbury & Outlook Festival among many others.

Throughout the 4-tracks here on 'Planet J', Jossy invites the listener to take a step inside her sonic world. The meandering pads and scattering drum patterns of EP opener 'Odyssey' are seasoned with warped chords 8-bit arpeggiators and ticking cow bells reminiscent of producers such as Skee Mask or INVT. '1997' brings together pounding 4x4 kicks, bouncing basslines and pitched vocal samples, giving the track the makings of a house anthem and leaving the listener yearning for a return to sweaty basement clubs. The high octane energy of 'Turismo' takes the records BPM up a notch for a marathon of skittering snares drums, raucous percussion and menacing sub bass. Whilst the heavily reverbed chords and melodic basslines of subdued EP closer 'Ø' demonstrate Jossy's ability to create thoughtful electronic music whilst still retaining a
hard, dance-floor focussed edge.

The EP comes in a full colour sleeve with Planet J’s capital city visualised in a high-res CGI rendering courtesy of London-based designer Kerrie.IRL

Repress

Berlin-via-Warsaw high roller of the new generation of techno VTSS aka Martyna Maja returns with a mesmerising 6-track EP titled ‘Borderline Tenderness’, this time from Berlin-Milan label VEYL run by Alex Knoblauch & Maenad Veyl.
Following a tremendously acclaimed collection of releases showcasing her fresh take on dance floor belters through Intrepid Skin, REPITCH, HAVEN and also featuring on KAOS, Monnom Black and Hellcat; this new record expands her horizons to different sides of her odd electronics as in ‘Woah’, while also giving a proper dose of her well-known craft to incorporate hardcore, EBM and acid influences on cheeky techno grooves.
Collaboration with friends and colleagues is key for VTSS in order to evolve. Consequently the EP includes a handful of features from the likes of LSDXOXO, contributing vocals on ‘Goin Nuts’, which is also available as a bonus instrumental version. As well, MOTZ boss Jasmine Azarian appears with spoken word on ‘To Whom All Lovers’ and the blazing ‘MDM508’ with Sonic Groove affiliate Crystal Geometry crown the record of a well-deserved head-bitch in charge.
Cover image taken out of the distinctive world of Tomaso Lisca.

2001’s God Bless The Go-Go’s was the first new album released by LA legends The Go-Go's in 17 years following 1984’s Talk Show, which featured the hit “Head Over Heels”. The original lineup is intact for this 13-track outing, produced by Paul Kolderie and Sean Slade (Hole, Radiohead). Green Day's Billie Joe Armstrong is also featured on the first single, "Unforgiven."

To celebrate the 20th anniversary of the original release the CD and digital deluxe versions will include 2 bonus tracks, “I Think I Need Sleep" and “King of Confusion”

Cool Ghouls - a band fledged in San Francisco on house shows, minimum wage jobs, BBQ's in Golden Gate Park and the romance of a city’s psychedelic history turns 10 this year. What better a decennial celebration than the release of their fourth album, At George's Zoo!

How did San Francisco's fab four arrive at George's Zoo? The teenage friendship of complimentary spirits Pat McDonald (Guitar/Vox) and Pat Thomas (Bass/Vox) serves as square one. The Patricks were munching on Eggo-waffle-sandwiches and downing warm vokda in suburban Benicia (San Francisco bay) years before McDonald would hear George Clinton address his fans as "Cool Ghouls". The boys played their debut gig as Cool Ghouls at San Francisco's legendary The Stud in 2011, but there's no doubt the musical moment cementing the band's trajectory was much earlier at the 18th birthday party for boy-wonder Ryan Wong (Guitar/Vox) - at the Wong household.

You might remember the Ghouls' earliest days... McDonald’s hair hung luxuriously past his waist, Thomas dreamt of no longer having to crash on friends' couches to call SF home and Wong looked forward to turning 21. Cool Ghouls' Pete Best, Cody Voorhees, thrashed wildly – but briefly - on the drums and Alex Fleshman (Drums), who still claims he's not really "a drummer", turned out to be a really good drummer. Thomas would sleep pee on tour. Those were golden days!

Flash forward to today and everything is up in flames. No shows, parties or bars. Cool people are streaming out of SF. It's been 2 years since the last time Cool Ghouls have even played. The STUD is gone, The Eagle Tavern is for sale and The Hemlock has been demolished for condos. Your boss is an app. Fascism is no-knocking down the door. There's a pandemic.

Fortunately for us, the Ghouls got an album in before it all went to shit, and they made it count. At George's Zoo includes 15 of the 27 tunes they managed to eke out while simultaneously working through major life moves. It was a 5-month, all out, final sprint down the homestretch (to Ryan's moving day) with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). Instead of recording the entire album over a few consecutive days - like they'd done with Tim Cohen, Sonny Smith and Kelley Stoltz for the first three LPs - the band took it slow by working through a few songs each weekend after rehearsing them the week before. Robby would cue up the tape, McDonald would throw some steaks on the grill and they'd get to work - much to the neighbor, George's, chagrin.

These guys have a real commitment to elevating as songwriters, musicians and ensemble players. It's always been for the music with Cool Ghouls and this long-awaited self-produced outing is a track by track display of the ground they've covered and heights they can achieve. Their vocals and trademark harmonies are front and center and out-of-control-good. Ryan's guitar solos are incredible. The horns by Danny Brown (sax) and Andrew Stephens (trumpet) hit in all the right places. Maestro, Henry Baker (Pat Thomas Band / Tino Drima), plays keys throughout. There's even a mesmerizing string section ("Land Song") by sonic polyglot, Dylan Edrich.

None of this growth is to the detriment of the fun, natural, feeling that fans have come to expect from the band. This is a fully realized Cool Ghouls album. It paints a remarkable portrait of SF's homegrown heroes and the many corners they've explored over the last decade. The songwriting, harmony and playing are nothing if not solid. The lyrics are keen. Robby's recording and mixing sound great start to finish and even better after mastering by Mikey Young. It's a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!

Yes, many things have changed since 2011. Who knows what the 20's will have in store for life on Earth, let alone the Cool Ghouls? We at least know that 2021 has At George's Zoo for us, a beautiful keepsake from the Before Times when we used to stand in living rooms together while bands played.

Award-Winning Welsh Multi-Instrumentalist The Anchoress Returns With Her New
Studio Album ‘The Art Of Losing’
Featuring Guest Appearances From James Dean Bradfield (Manic Street Preachers)
And Sterling Campbell (David Bowie, Duran Duran)
“A devastatingly powerful voice.” MOJO “Hounds Of Love, updated for the 21st century.” PROG “Davies is making music like nobody else at the moment.” NME
‘The Art of Losing’ is the second album from Welsh multi-instrumentalist The Anchoress (aka Catherine Anne Davies), following up on her critically acclaimed debut album,
‘Confessions of A Romance Novelist’, which was named amongst the Guardian critics’
Albums of the Year, won HMV’s Welsh Album of the Year, Best Newcomer at the PROG
awards, and a nomination for the Welsh Music Prize.
Written and produced by Davies, the new album features guest performances from
James Dean Bradfield (Manic Street Preachers) and drums from Sterling Campbell (David Bowie, Duran Duran) along with the mixing talents of Dave Eringa (Manics, Wilko
Johnson) and grammy-award winner Mario McNulty (David Bowie, Prince, Laurie Anderson).
‘The Art Of Losing’ ambitiously navigates the topic of loss in all its forms and was written
and recorded during an unfeasibly busy few years as Davies found solace and purpose in
a range of projects whilst navigating her griefs. Most recently this came via the release
of her collaborative album ‘In Memory of My Feelings’ with Bernard Butler (on Pete
Paphides’ label Needle Mythology), duetting with the Manic Street Preachers on ‘Resistance Is Futile’, and being personally invited by The Cure’s Robert Smith to perform at his
Meltdown Festival. She also brought a new generation of ears to legendary Scottish rock
band Simple Minds, where she spent much of the last five years appearing on the ‘Big
Music’ (2015) and ‘Walk Between Worlds’ (2018) albums.
The Anchoress will launch the album with a special show at London’s Queen Elizabeth
Hall in July 2021.
*2 LP 140gm Black Gatefold Vinyl Edition with lyric printed inner bags.